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KATHY JAKOBSEN, OIL ON CANVAS, UNIONKATHY JAKOBSEN, OIL ON CANVAS, UNION STATION Kathy Jakobsen (American, b. 1952), "Union Station", from her book "My Washington DC", oil on canvas, signed "KJakobsen" a few inches above eagle lower left, 16.5"h x 24.5"w (sight), 20"h x 28"w (frame)
KATHY JAKOBSEN, ORIGINAL BOOK ILLUSTRATION,KATHY JAKOBSEN, ORIGINAL BOOK ILLUSTRATION, O/C Kathy Jakobsen (American, b. 1952), "Union Station", from her book "My Washington DC", oil on canvas, signed "KJakobsen" a few inches above eagle lower left, 16.5"h x 24.5"w (sight), 20"h x 28"w (frame)
Benjamin West P. R. A. (British 1738-1820)Benjamin West P. R. A. (British 1738-1820) "Seated Female Figure (Probably Study for a Portrait)" probably c. late 1770s/early 1780s graphite on buff laid paper unsigned 7 5/8 in. x 8 1/2 in. in a composite dealer's mount inscribed "from his studio/ D23 917C/ 6 [in a circle]". Provenance: Colnaghi's London 1961; James R. Lamantia Jr. New Orleans and New York. Note: This unusually clear and handsome sketch is a highly characteristic work by West (as its provenance from one of the world's foremost dealerships in old master drawings would suggest). Its head is a marvel of economy with its few pencil strokes establishing the basic profile and cranial structure: its uplifted pose and loose hair in addition to its concentration on the shadows of the eyelids below the nose and mouth and in the shaded neck are very closely paralleled (for example) on a sheet of studies by West at the Friends Historical Library Swarthmore College. West's trademark gown with its high waist and clinging skirt is similar to that in his Design for a Pediment at the Huntington Library in San Marino CA; the fall of the bodice across the right breast and the shape of the girdle match West's drawing The Destroying Angel at the Royal Academy; while the gestures here of the right arm hand and sleeve are identical to those in his Belisarius of 1784 at the Philadelphia Museum. The handling throughout is closely reflected in the Raising of Lazarus at the Pierpont Morgan Library in New York (which now holds the largest collection of West's drawings). The head here has an almost exact cognate in another sheet of sketches for an Ascension at the Morgan while the general composition the supporting block and especially the summary shorthand feet appearing beneath the gown are repeated in the same collection's Seated Sibyl. This figure's overall attitude and specifically the almost automatic parallel strokes around its contours find close cognates in the Morgan's Seated Male Nude; and the basic compositional type is exactly paralleled in their Seated Woman with a Musical Instrument which is fully developed as a study for West's famous painting of Mrs. William Beckford (now at the National Gallery of Art in Washington) for that family's celebrated site at Fonthill Abbey Wiltshire. References: Ruth S. Kraemer Drawings by Benjamin West Pierpont Morgan Library New York 1975 pp. 11-12 no. 15 pl. 7; 16-18 no. 23 fig. 10 and pl. 12; 38-39 no. 63 pl. 37; 39-40 no. 66 fig. 26; 63-64 no. 120 pl. 77; and 71-72 no. 158 pls. 86-87. Frederick Cummings and Allen Staley Romantic Art in Britain: Paintings and Drawings 1760-1860 Philadelphia 1968 pp. 99-100 no. & fig. 50; Hans Fletcher [T]he Royal Academy Washington 1982 no.10.
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